Last update: August 30, 2021
ARTH 2096 (801) Eurasia: Connecting European and Asian Art and Culture
Even though we are living in a globalizing world, our common knowledge of cultures other than our own is limited. Since every culture has its own uniqueness, it can often cause misunderstandings during interpretation. Located on the eastern side of Eurasia, Japan can be seen as a reflection of Europe itself in many ways. By comparing the cultures and historical incidents of these parts of Eurasia, they echo resounding similarities. This class connects European and Asian cultures into the singular continental culture of Eurasia - through cross cultural comparisons of significant moments in history and places of significance. Upon completion of this course, you will be able to compare the social and historical contexts of Europe and Japan, while being able to create your own critical analysis’s on this area of study. Although, not required, it is recommended to take “Japanese Culture” course before taking this course.
ARTH 2098 (801) Art and Queer Theory
This course examines the intersections of queer theory and contemporary art practices from the 1960s to the present. In the 1990s, "queer theory" emerged as an interdisciplinary method of analysis that understands identity to be constructed, contested, fluid, and performatively defined. Taking pleasure in dissonance and marginalization, queerness positions itself actively against fixity and normalcy. Throughout the semester, this course will explore key arguments made in queer theory and how they relate to contemporary art practice. The class will variously explore how the history of art may be "queered" through re-contextualization; how queerness was coded by artists in the pre-Stone Wall era; and how queerness was embraced in the 1980s at the height of the AIDS epidemic and has since been used as a way to create subversive, self-empowering works that challenge established notions regarding art, identity, and politics. The authors we will read will include Sigmund Freud, Judith Butler, Eve Sedgwick, Richard Meyer, and Douglas Crimp. We will consider works by Andy Warhol, Gran Fury, Felix Gonzalez-Torres, Robert Gober, Zoe Leonard, Catherine Opie, and Fierce Pussy. We will use both the texts and artworks to address difficult questions about the relations between art, politics, theory, and practice.
ARTH 2680 (801) Global Renaissance
Our image of the Renaissance is deeply connected to Italy. But the early modern era is one of growing global connectedness, and thus opens up the idea of a Global Renaissance(s). This course will examine the artistic world of the Renaissance (14th-16th century) in relation to its global interconnectedness. Mixing ideas from art history, post-colonial studies and the evolving world of global studies, this class examines the role of cross-cultural exchange, travel, trade, diplomacy, conquest and patronage in shaping artistic production and reception of artworks in Italy and beyond. We will consider artworks from various perspectives, including geographic/cultural (e.g., Europe, Asia, the Islamic World, etc.) and individual (e.g., gender, ethnicity, sexuality, etc.). Topics include itinerant artists from Madrid to Constantinople to Nagasaki; depicting foreignness in Renaissance art; women artists; sexuality in art; global trade in art; the Americas in Renaissance art.
ARTH 2800 (801) Japanese Graphic Design History
Japanese Graphic Design History explores the rise and development of commercial art and advertising art into graphic design in the Japanese context from the Meiji Restoration to the contemporary moment. This course examines the aesthetic, market-based and sociopolitical milestones that have influenced design while simultaneously exploring the pantheon of both renowned and underexplored Japanese graphic designers. Students will read relevant slices of design theory—the history, criticism and literature—from Asia, Europe and the Americas in order to contextualize Japanese Graphic Design History and the localized developments of Modernism, Postmodernism and the current Neoliberal Era. This course approaches the analysis of graphic design from an all-encompassing perspective, examining the design of everyday commercially designed objects such as matchbooks to posters for cinema and theater to the design of Japanese typefaces to the design of corporate identities. Students will gain a nuanced understanding of why and how our designed world looks the way it does through history-rich talks, graphic design studio visits with famous graphic designers, and trips to graphic design exhibitions. This class is the lone course offered globally that explores the robust history of Japanese Graphic Design in total.
ARTH 2800 (802) Japanese Art Before and After WWII: National Identities in Modernization
This course introduces Japanese art from the early 20th century to present day, focusing on traditional aspects of Japanese cultures. Through this course you will study Japan’s relationship with modernization and its influence on arts and cultures such as; painting, sculpture, manga, movie, animation, performance art, and more. The artists who will be discussed in these courses will be; Hayao Miyazaki, Osamu Tezuka, Leonard Tsuguharu Fujita, Yasujiro Ozu, Yoko Ono, Yukio Mishima, and Yasumasa Morimura. Special attention will be paid to the historical context of Japan’s modernization, World War II, and their influences on Japanese contemporary art. The aim of this course is to help you develop literacy on Japanese modern/contemporary art and culture. Upon completion of this course, you will be able to understand the social and historical context of Japanese art and culture. Enabling you to create your own critical analysis’s on this particular field of study. Previous knowledge of Japan’s history or art is not required for this course.
ARTU 2400 (801) Contemporary Collage and Hybrid Printmaking
We will cover different approaches to collage using a range of media, surface treatments, typographic elements, found-objects, ephemera and image transfer. Specifically, we will deconstruct and reinterpret images and concepts through hybrid digital-analogue technologies such as the photocopier, risograph machine, cutting plotter and laser cutter, and self-proposed media. Through ideas and strategies, you will learn how to create exciting and well articulated art forms such as collage, assemblage, new genre, and other mixed media projects. Simultaneously, we will dive into significant events in contemporary art that connect out from collage, from Dada to Détournement, from Suzanne Duchamp to Shinro Ohtake. In short, this course proceeds by revealing printmaking as a media technology that holds the key to understanding the fragmented aesthetics of our contemporary digital entanglement, while giving students time for self-proposed projects in mixed media that respond to the “expanded” ideas of collage.
ASST 2000 (801)/SOC 2130 (801) Risk Culture: The Politics of Pandemics, Natural Disasters and Nuclear Energy
As a global viral pandemic is transforming the world, the ways in which cultures institutionalize what constitutes acceptable parameters of risk has become increasingly evident. The COVID-19 pandemic is a transformative crisis, but it is only one instance of a larger process of how we calibrate perceived threat and attempt to impose a sense of normalcy in an increasingly precarious world. In Japan this was especially evident in the Tohoku disasters of 2011, when the largest earthquake ever recorded in Japan, a tsunami that took almost 20,000 lives and 3 nuclear reactors in meltdown in the Fukushima nuclear crisis grew to become the most expensive conjoined disasters in world history. This course examines major disasters such as the Chernobyl, Three Mile Island and Fukushima nuclear accidents, global climate change and its associated effects (the Katrina Hurricane in New Orleans, flooding, wildfires, impact on vulnerable populations) and episodic but impactful disasters such as the Challenger Space Shuttle Explosion and the British Petroleum Deep Water Horizon oil spill as case studies to illustrate how risk is socially constructed and politically contended, and makes its way through public policy into institutional structures to profoundly affect our lives.